Westcott Photo Basics Strobelite Educational 2-Light Kit

Westcott's Photo Basics branded products combine lighting hardware with instructional content aimed at beginners who are keen to learn on the job.

With this kit you don’t just get the tools necessary to start taking high-quality studio shots, you receive the added benefit of being taught how to get the very best from your new setup. Westcott has identified the need to offer more than just the equipment for those exploring studio photography for the first time. The result is a line of 'educational' kits sold under their affordable Photo Basics brand.

The instructional content includes a DVD that not only offers a step-by-step guide on assembling the kit but walks you through the key points of shooting in a studio environment. A beginner-friendly floor-positioning mat is also included to help you put these tips into practice more easily, showing you exactly where to place your lights, camera and subject. The DVD also covers an array of stylistic techniques covering everything from lighting to posing your subject for portraiture work.

The hardware itself includes a pair of StrobeLites, 43" white umbrellas and 6.5' air-cushioned light stands. Rounding out the kit are sync and power cables plus the floor-positioning mat (which includes its own Guide Card), all of which fits neatly into the supplied carry-case. The 150Ws rubberized, polycarbonate heads are daylight-balanced, sport a respectably mid-range guide number of 39m (117ft) and feature 100W adjustable modeling lamps (with a proportionate ‘variable’ setting) so you can easily preview the effect your lighting setup will have on the shadows and highlights in your composition. The flash output can be finely controlled from 1/4 to full power and each head has slave cell for wireless triggering. All this makes for a comprehensive, cost-effective choice for beginners looking for easy-to-follow instructions for developing their studio skills.

Bowens Gemini 400/400 Umbrella Studio Kit

This powerful strobe kit manages to fit everything you need to get started in a single supplied hold-all. This makes it very appealing for photographers on the move.

Renowned for the quality and consistency of their products, Bowens is one of the big names on the studio flash scene - and for good reason. Striking a healthy balance between power and portability, this kit provides enough output for photographing everything from table-top subjects to small groups of people in a medium-sized studio environment. The 400Ws heads are also compatible with the Bowens Travelpak portable battery system. Best of all, the whole setup - comprising a pair of Gemini 400Ws heads, wide-angle reflectors, 35" (90cm) umbrellas, air-dampened metal light stands, plus all the necessary lamps, cables and power cords - packs down into one neat hold-all, allowing you to take the lot of it on location.

Other features worth mentioning include a modeling light that can be operated at full power, set proportional to the flash output or switched off (it’ll also turn itself off after 30 minutes of inactivity), as well as an automatic power-dump function that safely dissipates any excess charge when reducing the flash output; a feature that some of the less expensive kits lack. Unlike some of its competitors, Bowens opts for manual dials rather than a digital display. While perhaps marginally less precise than a digital system, many photographers share a preference for this type of interface as it’s quick and simple to use.

While this kit is largely aimed at the amateur studio photographer, its price does represent an investment for the absolute novice. There is, however, a cheaper Gemini 200/200 kit available for those who want these same accessories, but don’t require the output of the Gemini 400 heads. Whichever kit you opt for, experience tells us that you won’t be disappointed with either the feature set or robust build quality of the components. As it stands, we’d happily choose this kit either as a start-up solution for a serious enthusiast or for a professional working in a modest studio environment.

I have many images taken with the Vivitar model posted online and I've bought the lens for GBP £40.00. The lens body is entry level grade plastic (sturdy) and the AF motor is course and not quiet, but the optics are just superb and I would challenge anyone to tell the difference between it and a GBP £230.00 Tamron 272E model. FWIW, I currently have both the Tamron 272E and a Sigma AF 105/2.8 EX DG 1:1 Macro, and I think 90mm - 150mm is the ideal range.

Hello...I am starting a new photography business out of my home for newborns, children and family. Can any recommend a good continuous lighting kit that is under $350.00 and that is made well. I have see so many things online and would really like an opinion from someone who knows their stuff. Thanks

If you're looking at $349.99 (US) / £349.99 (UK) / €359 (EU), it's the Americans who are getting the great deal. I have looked at prices in the UK when visiting - I can usually get VAT returned if I take the gear home. But I haven't yet found anything that was cheaper in the UK.

In this case, the UK price is equal to more than USD $550 and the euro price is about $480 (although the don't indicate which country's VAT is being used.

It is just that speedlights were designed as portable devices, and their characteristics is of the portable device, in contrast to studio lights...

E.g., with studio flashes you have no worries about batteries running out, fewer problems with overheating, modelling light.

On the other hand, with speedlights with umbrellas you have ultraportable set, no worry with power cables on location, etc..

I was thinking about it, and decided for portable flashes for myself, because I prefer the portability over studio convenience. And in some special usage, like aquarium photography, I can place speedlight the way I want - studio light are too big and heavy for that.

I think that even if you own just one speedlight, buying an umbrella and basic stand will provide much better results then just a speedlight, and being really cheap it is a good investment, especially if you are going to use it only occasionally.

Im using 3 speedlights and umbrellas right now. Have gotten great results on what I have done so far. Umbrellas are really flexible if you know what your doing there really isnt much they cant do if you really put your mind to it. And in most situations speedlights are powerful enough for most peoples uses. Plus speedlights can support high speed sync which is amazing. And yes definitely check out the strobist! He has great stuff

Someone would make small wireless TTL system e.g. with features of high level Elinchrom's flashes, with similar software for Android/Apple devices to include and with controll of parametres via radio system

AlienBees were mentioned on the first page and good things were said. They were excluded from this "Round Up" because they thought that ABs weren't offered in kits. I'd have rather they said they couldn't get any instead of a false statement. Maybe it was an accident.

It just seems strange because Paul Buff lights comprise around half the lights sold in the US and Canada. Like I said, maybe an accident or oversight by the author.

Just to clarify, Paul C. Buff does indeed offer kits, but they are only available through the US site. They do not make these packages available through their international distributors. As a large part of our readership is located outside the US, we chose to feature products with the widest possible availability.

@Joseph S Wisniewski How is it that Bees "exceed D-Lites in every way" when the D-Lite 4 have higher Guide Number 296 vs 236 for the AB1600 and the D-Lite's have built in radio triggers? The D-Lite 4 is also $324 vs $359 for the AB1600. Sounds like someone hasn't done their research or is perhaps has a Bee bias that ignores the facts.

These kind of things undermine credibility of everything else said. The logic is "Either the chap does not know what he is talking about, or he tells nonsense on purpose. Either way, he is not to be trusted" :)

As an old studio photographer I've used old Ascor, then,balcar, and norman strobes. None of these companies now exist, I think. Another problem not mentioned in this article, is that some strobes have been known to explode. Literally. And not from just heavy use. I've been retired for years and don't recognize any brand names mentioned here. Talk about being totally out of it. In a trunk in the garage I have a set of Normans that haven't been turned on for over 20 years, I'll need to hide behind something safe when I do.

Not watts (W) it is watt-seconds (Ws) or joules (J) for flash. And watts, with a lower case w, unless it is abbreviated to W. Using watts (joules per second), only makes any sense for continuous lighting. There are just so many basic flaws with this article.

Brian, I'd have to agree. Some of these articles are pretty good while others, like this one, seem to have a lot of flaws. It made following a bit hard.

To have left out Paul Buff lights which might be half the lights sold in the US because they want to focus on lighting kits seems very strange when Buff kits up all their lights, Alien Bees, White Lightning and Einstein, with what are probably the most complete kits available. It's not hidden. It's on their home page. Makes you wonder. I mean, leave them out if you want, but don't give such a lame reason. I know you can't list them all, but the best selling of the batch, you'd think would be included especially considering one brand was listed twice with monolights.

I have six monolights and they are working out very well. They include the Balcor mounting system which is fairly nice and are not proprietary like the EX mounts.

I must admit, I am no great fan of either the Balcar or Elinchrom mounting systems. Both were designed before the use of large softboxes now prevalent. The Elinchrom system is nicer, but perhaps even flimsier than the Balcar. They are both good for mounting lighter weight modifiers like standard reflectors, barndoors, snoots, gel holders, etc

The article is fine in many ways, but shows a lack of editorial oversight and proof reading. I would put myself as a good proof reader, except for my own stuff, but that is why there is a need for a copy editor.

The Profoto section shows an image with the Air Remote as being included. And most of that write up assumes and discusses that, but in the last paragraph we have:

“You can take this wireless functionality even further by investing in an optional Profoto Air remote”

At least the Buff site is mentioned and linked. And remember the DPReview site’s origins are in the UK, where Buff stuff isn’t easily available.

News flash - most Professional photography equipment is purchased by amateurs just for the pure fun of photography. As a professional photographer I am often working at a wedding where Uncle Harry and Aunt Martha have more expensive gear than I do. The equipment is not what makes you a professional, it's the training, experience, business acumen, artistic eye, and the ability to stay in business. The best investment I ever made was to join an affiliate of the PPA and learn from others with more experience, attend workshops and seminars, etc.

Absolutely true. It's doctors, lawyers and anybody with money to burn on cameras and vacations. And it's a good thing too, because there wouldn't be much high-end equipment if the manufacturers had to rely on actual, full-time professionals. Interestingly, surprisingly few dentists have the photo bug. I'm not speculating; I've dealt with consumers, looked at warranty registrations that specify occupation, repair stats, etc.

I bought the Bowens 400 kit just one week ago in Germany (calumet) for only 499 Euros! A fantastic price - cheaper than what it sells for in the US (e.g. bhphotovideo). It is probably good enough to last me for a long, long while. I may need to add a stronger flash (to serve as a key light), and a softbox would also be a nice addition but these would come on top of the Bowens kit, not instead.

I have invested another 60 Euro for a Cactus V5 wireless duo (two identical units capable working as either transmitter, receiver or remote shutter release). Still expecting delivery, so can not comment on the Cactus, but expect them to work just fine with the Bowens flashes.

Sometimes it helps to be poor... running out and bying high-level kits can rob you of the education gained by buying used gear or making the most of low-end gear. So that when you do move up scale, you've got a clear idea of what is important and what if fluff. I would say it's never been a better time to move up to studio gear... the amazing profusion of lights, from strobes to CFLs) to shoot-thru umbrellas, softboxes, etc., has never been greater! Now if only we had the time and models to work with!

It's a good primer for what to look for, some of the pros and cons of different systems. Studio lighting can really be intimidating for newbies - maybe a primer on studio lighting, basic descriptions of the tools and modifiers and where and when you can use what type of lighting would be helpful as well.

Great break down on very worthy lighting equipment…I started photography a long time ago and I used Norman 2000 watts packs and now I use Hensel lighting for the last 10 years. Work great in the studio and location.

Now THIS is an article I can appreciate--certainly much more than how to use a smartphone for photography, a contradiction in terms (smartphone photography) if I ever heard one.

Whenever I've photographed people, the big roadblock has been the lack of quality indoor lighting with which to do this. Outdoors on cloudy days, I can get some winner shots, but otherwise they look like my 4½ year-old took them with our smartphone. I've never sprung for a studio setup, a local was about to sell their flash umbrella & stand on the cheap but decided to keep it before I got it. This article is very timely, and very much appreciated--an article for ENTHUSIASTS, not soccer moms & dads. Thank you VERY much DPreview.

BTW, what about the LED lights? Some (the more expensive ones - that is, the non-Chinese knock-offs) of them have sufficiently high CRI (for example, the 209AS is over 90) and they have much-much better lumen/Watt performance than both CF and halogen lamps, let alone tungsten ones, particularly warming up-wise. (Read: you won't have problems by the subjects' getting too much infrared radiation - that is, hot. Of course, the lamps themselves get a bit hot, which MAY mean they require, at times, some active cooling to keep the lifespan of the LED's as long as possible, but in no way as badly as "traditional" or even CFL bulbs.)

BTW, at home, I've switched to LED lighting entirely. If you use high-quality (in most cases, dimmable) bulbs, your eyes/brain won't be bombed with 100 (2*50) / 120 (2*60) Hz flickering, unlike with many CFL bulbs, all fluorescent tubes and even a lot of filament-based tungsten/halogen bulbs. Their CRI (apart from the absolutely best and most expensive LED bulbs, which are advertised to be over 90) isn't very good though.

LED lights aren't really mature enough for any serious photographic use, yet. The luminous efficiencies (as you say, lumen/Watt performance) of the best photographic panels are only about 85 L/W. A good CF is 75 L/W, so the LED isn't "much-much better") it's barely noticeably better.

The 209AS is a 14W unit, so that's a whopping 1,200 L. The Westcott Spiderlight in this article has 6 50W CF, that's 300W * 75 L/W = 22,500, or almost 20 times the power.

But "power" doesn't make pictures, energy makes pictures. This article is about "home studio" lighting. Pictures of people are taken at 1/60 sec or faster, for civilians. That's 20 lumen-seconds for your 209A-S, 90 L-S fr the 72W "big city" we got spammed with, 2,800 L-S for a single speedlight, and 16,000 L-S for most of the strobe kits in the article.

LED just doesn't do it. Great for macro, though. Useful for video reportage, but not artistic video.

OneGuy, LEDs are most certainly not "the way to go", for the reason I already mentioned (incredibly low energy, on the order of 1/1000 that of studio strobes) and for the high cost and the sheer "annoyance factor" of any hot lights.

The "Big City" lights that Menneisyys linked to have the output of a 250W quartz bulb, and were used at close range with no diffusers. That may be OK for a short period with a professional model (although that one did have an expression somewhere between annoyance and constipation) but it's totally intolerable to a casual portrait subject.

Surefoot, most LED video lights are wired in series-parallel, and run off a low voltage, high current power supply, or a battery pack. But some of the cheapest (not the "Big City" lights that Menneisyys mentioned) are wired in full series, like LED Christmas lights, and do flicker.

Again, that's a rare thing. Flickering, in general, is rare. Few modern gas discharge lamps flicker. Both linear and compact fluorescent lamps are driven by electronic, high frequency ballasts these days.

"The "Big City" lights that Menneisyys linked to have the output of a 250W quartz bulb, and were used at close range with no diffusers. That may be OK for a short period with a professional model (although that one did have an expression somewhere between annoyance and constipation) but it's totally intolerable to a casual portrait subject."

Whle I agree LED video / photo lamps without diffusers are very annoying (mostly because of the LED's miniature size and, therefore, "burning in" their shape in one's eye - I can't stare / look straight in my Z96 either), with diffusers, I don't think, light quality-wise (I'm deliberately not speaking of the lack of brightness / power) they are any worse than traditional lights, apart from the possible CRI problem, of course. Without their problems: UV, IR radiation, possible flickering (see my prev. answer) etc; that is, the model won't find the lights "hot" at all. (If you meant IR radiation by "hot".)

I never got past page one because of that statement. That, and missing the fact that the Alien Bees (and others) line are available in a pretty impressive kit format. Two strikes on page one, so not bothering with the rest of the article.

The problem with any continuous lighting source is that it's hard on the model having to look at those blinding lights for a long period of time. I like a combination of continuous lighting in soft boxes and strobes.

LED is the future, but again, having those things in your face for an extended period of time can give you a headache.

2. you need to find out whether the set flickers at the double of the mains supply frequency. LEDs have no latency and, therefore, are the worst, flickering-wise; this is why high-power LED lighting can be unbearable for a lot of people under other (e.g., even home/office) circumstances too. DC-operated LED banks (e.g., ones based on the Z96) don't exhibit this problem.

Apart from the question of whether to choose strobe or continuous, I think we need to careful about buying setups that use tungsten or CFL lights when both types of are likely to be replaced by LED lamps in the near future. Tungsten bulbs in particular will be harder to find.

Yeah, it's the best to stock up with high-power tungsten bulbs now that more and more countries are banning them. (Which - banning - is a very bad idea as CFL's are in many ways worse and quality (non-flickering, tolerable CRI etc.) LED's are still very expensive.)

BTW, halogen lamps aren't bad either: they too have a CRI of 100 and significantly (about 30%) lower power consumption. They, however, have significantly larger UV-A radiation too (as the filament's temperature is much higher than with tungsten), which, if you don't use diffusers, may be a problem.

Personally, I think an article showing the merits/tradeoffs between constant lighting and strobe, umbrellas and softboxes, etc. would be more in line with normal reviews on DP.

In the past I've always come to appreciate the reviews on DP because of the no-nonsense, in depth technical breakdown of the device (usually cameras) now we just get a list of kits, basic marketing rundowns and links to Amazon for buying them...

Thanks, Amadou. I would appreciate just that sort of help prior to shopping for these sets.

I'm not being critical as we get progress when one good idea begets another, but this would have worked better if the suggested article preceded this one. So ... does it make sense to refresh this article as an addendum to the suggested article?

I have the Elinchrome D-Lite 4-it set and like it very much. The 200 Ws version would have been more than sufficient. Two notes for the editor:- the D-Lite 4 head has an internal fan for cooling- the lighter (less power) version provides 200 Ws, not 200 WGreat article, by the way. Thanks.

I smell someone who hasn't read the article ;-) We have a link to Paul Buff along with an explanation of why Alien Bees was not included in a 'kit' roundup. This can can found on the first page. Sometimes the truth is much less exciting than the conspiracy theories.

The rest looks like a good comparison. Would love to see a similar list for video as well since more people are getting into HDSLR video...I'm a Lowel fan myself, but was wondering what other stuff people like...

Well you've rattled the bars on Joinsons cage. The explanation for Paul Buffs products exclusion was really lame. Just coincidence that Amazon.com pay the wages at dpreveiw and that Paul C Buff doesn't sell through Amazon.

If you want better advice on studio lighting visit the lighting forum here. It one of dpreviews better forums.

I smell someone who hasn't done his homework. Now that you know Buff does offer a range of kits (albeit in certain geographies only), why don't you go back and fix your egregious oversight, lest you steer people into making bad decisions.

From personal use I can highly recommend the Paul Buff Alien Bees or, if you plan on going more serious, the Einstein units. They offer the best 'bang for the bucks' and everything is compatible up to the large Zeus, so you can grow withing the same system.

Geez, 43 comments and only one about the Profoto - or its price...The fact is that they're the best lighting acquisition I've made. Far better made than others (great design & ergonomy, too) reliable, consistent results, everything a Pro needs to set up a studio anywhere, in or outdoors, together with the BatPac.

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